(Today's
Reader Review comes from Blake,
who decided to bring up a guy who most of you two have pleasantly
forgotten about and some of you two never knew even existed: child
star A+. The review for his debut album, The
Latch-Key Child,
follows: leave your thoughts for Blake
below.)
There
is very little to say about Andre “A+” Levins. Hailing from
Hempstead, NY, Levins won a Def Jam-sponsored talent search in 1995
at the age of 14, and the following year he released his debut album,
The
Latch-Key Child,
on Kedar Entertainment. Four years later, he followed this up with
the inferior sophomore project Hempstead
High,
which featured the hit single “Enjoy Yourself”, best known for
sampling Walter Murphy's “A Fifth Of Beethoven”. A+ essentially
fell off the face of the Earth not long after; now the ripe old age
of 32, the original Latch-Key Child is a hip hop obscurity.
The
Wikipedia article about Levins features a link to his MySpace page,
so you can tell that it hasn’t been edited in years. I’m sure his
more recent name switch to “Young Plus” did him no favours. He
allegedly has a few more albums and/or mixtapes floating around, but
I didn’t listen to them, and neither did you.
The
only other notable thing A+ has been involved with, in my opinion
(remember, information on the man is scarce) is his guest appearance
on the Lost Boyz's “Beasts From The East”, a track taken from the
group's second album Love, Peace, & Nappiness. The
beat was bland, and his participation was a non-factor: the song is
probably known for being the platform fellow guest star Canibus used
to tempt the listening public with the promise of great verses to
come. Of course, like A+, Canibus would later realize that his career
(or his credibility, at least) was doomed. But that’s neither here
nor there. (Redman, of all people, also guested on that song,
which I happen to quite like, but yeah, I agree about A+ not really
contributing much; he sounded a little better on his other Lost Boyz
cameo, on “My Crew” from the same album, also alongside Canibus.
I really have to get back to the Lost Boyz catalog. And now back to
your regularly scheduled program.)
Somehow,
A+ managed to score some A-list East Coast guest appearances: Q-Tip,
AZ, and Prodigy of Mobb Deep all drop in to show love. He even
secured two Buckwild beats amidst the rest of the no-name production.
Which is what happens when you win your record deal in a contest.
(I
also feel the need to clarify that A+ is not the same A-Plus who is a
part of the Souls Of Mischief. Not that you actually thought
that after seeing that album cover, but all the same, you're
welcome.)
1.
NEXT LEVEL (INTRO) / ENTER HEMPSTEAD
Once
the intro ends, the listener is treated to a much better beat than
expected. When I first heard it, I was reminded of how Method Man's
debut album Tical kicked off: A+ even drops a Tical
reference, so he was clearly paying attention. Good to see that he
studied some of the best. At this point, you will note that Levins
sounds very similar to Nas's baggage handler AZ. The instrumental
switches around the three minute-and-thirty second mark to an worse,
but still pleasant, beat.
2.
MOVE ON
The
Smith Brothers beat is average, but the delivery is strong. I didn’t
even mind the sample on the hook. The Latch-Key Child comes across as
a fully realised emcee, which is an amazing feat, considering he was
only fourteen at the time of recording.
3.
ME & MY MICROPHONE (FEAT. Q-TIP)
A
bit corny, but this track isn’t bad otherwise. Beat-wise,
Buckwild's work reminds me of Nas’s “One Love” (although not
nearly as good), (not really credited) Q-Tip hook and all.
Corny or not, A+'s attempt at an extended metaphor is still miles
ahead of most grown-ass rappers.
4.
ALL I SEE
Oh
Lordy, the radio track. Sounds completely out of place on the album,
particularly the singing, which is overkill. For what it's worth, it
gets the job done, but I won’t be listening to this song ever
again.
5.
GUSTO (FEAT. PRODIGY OF MOBB DEEP)
Prodigy
stops by to lend a hand on this Miladon-produced banger. While the
Latch-Key Child keeps up admirably, this is the Prodigy show through
and through. He is simply on fire here, both lyrically and with his
flow. The bars themselves have been thrown around on a lot of older
Mobb Deep songs, so enthusiasts will surely recognise it (it also
appears on the tail end of the new Mobb Deep album, too). The
instrumental sounds like an inferior-but nonetheless-banging
mid-1990s Havoc clone, thundering along nicely. A great fucking
track, the best on the album bar none.
6.
HARD TIMES
A
minimalist Smith Brothers beat that lets A+’s lyrics shine through.
Not that he’s actually lived the life he's describing or anything:
he was only fourteen at the time of recording, after all. But just
like Prodigy in the preceding track, he sells the story well.
7.
A + Z (FEAT. AZ)
See
what they did with there? Clever one, A+. The track isn’t bad, and
is miles better than the majority of AZ’s output after his debut.
The beat (from Ike Lee) is pretty good, albeit kind of boring. It
sounds like we're getting Doe
or Die-level
AZ on here, which isn’t surprising, as that project was released
only one year prior to The
Latch-Key Child.
It took a bit of focus to actually distinguish the two emcees from
one another, they sound that similar. Lyrically, though, they both
come off well.
8.
WANNA BE RICH
Nothing
memorable here. Clearly one of Buckwild’s throwaways that he
reserves for third parties.
9.
MY THING
Ditto
with this track. A+ shows good energy here, but my interest in this
album is waning...
10.
PARKSIDE COALITION (FEAT. ?)
A
step back in the right direction. There are some good battle rhymes
from A+ on here, and a Prodigy sample to boot. Also features more
references to the Wu-Tang Clan, which I just noticed are all over The
Latch-Key Child,
which is nice. There is at least one uncredited guest rapper on here,
too, and he sounded okay.
11.
PARTY JOINT
The
worst track on the album. From the elevator music Smith Brothers beat
to the rudimentary lyrics, this is a misfire.
12.
ALPHA 2 OMEGA
This
wasn’t too bad, though. Nothing to write home to your mother about,
but not awful. A+ reflects on his life over a pretty good beat. The
lyrics and delivery are faultless, and unlike the majority of actual
adult rappers, he can write a hook. Prodigal son, indeed.
13.
SHOUT IT OUT (OUTRO)
A
bunch of shout-outs that take place over the album’s first beat. An
unnecessary way to end things.
FINAL
THOUGHTS: The
Latch-Key Child
sounded a lot better than I remembered. I wouldn’t rank it anywhere
near a classic, or even refer to it as a diamond in the rough, but A+
does well for himself on his first outing. Take the kid's age at the
time of recording into consideration, and these songs actually end up
being much more successful. I’m actually kind of shocked The
Latch-Key Child
hasn’t been reviewed on this site before, given this album’s year
of release and its guest roster. This project is standard 1990s East
Coast, which is never a bad thing. A+ sticks to the fundamentals
admirably, without relying on the gimmicks one would expect from a
young artist with presumably very little creative control. While some
of these songs ultimately flatline, especially near the end of the
album, the majority of the disc is fairly entertaining.
BUY
OR BURN? If you can find it for cheap, I would recommend a purchase.
Pick it up and reflect on a simpler time in hip hop, back when
Prodigy of Mobb Deep wasn’t awful, and where radio catered to
rappers, and not vice-versa. You’ll also be treated to lyrics by a
fourteen year old that are far superior to many artists on this site
(especially all of those Wu-Tang B-teamers that Max is so fond of),
even if some of the beats are uninspired and dull.
BEST
TRACKS: "Gusto"; "Next Level (Intro) / Enter
Hempstead"; “Alpha 2 Omega"; "A + Z"
-Blake
(Questions?
Comments? Confusion? Headache? Stuffy nose? Diarrhea? Leave your
thoughts below.)
I remember seeing Smith Brothers production on a Raekwon album, either Lex or Immobilarity so they aren't complete no-names.
ReplyDeletehmmm I'm mildly intrigued, but if I've already heard the Prodigy guest verse elsewhere then what's the point...
ReplyDeleteBut you get to hear it in a different context! That's...something, right? I don't fucking know, I've never listened to this album, either. (Hey, stuff slipped past me in the 1990s, too.)
DeleteExcellent review!!
ReplyDelete"gusto" is a fucking BANGER!!! Even with the reused verse from the Infamous sessions!!! As if we haven't seen worse from some of the game's most respected MCs.
You are utterly ridiculous to believe Party Joint is wack. You clearly don't know hip-hop at all. That was one of if not the best cut on the album. What's going on with these reviews bruh?
ReplyDelete